Show Review: RX Bandits at the Art Theater, Long Beach CA 8/3/11

Photo By Mike Murray

Progress — a word not only acting as a title of one of their most successful albums, but also a word to describe the musical explorations of RX Bandits. The band’s music has gone though continual changes throughout the years. From singing silly ska songs as the Pharmaceutical Bandits on their first full length effort Damn Those Bandits and the follow up album Halfway Between Here and There, to taking a complete one-eighty with the social and politically scathing commentary on Progress and The Resignation, staying stagnant in their art has never been a problem. After a move to drop the ska sound all together by phasing out horns and moving more into the realm of experimental progressive jam rock with the release of their latest album Mandala, the band decided to go on an indefinite hiatus after a “farewell tour” that made a stop in Long Beach, California, a place where a few of the band members call home.

The Art Theater is Long Beach’s historic art deco movie house located in the city’s 4th street art district. The recently renovated theater usually hosts independent films as well as some more mainstream releases. It’s rare to see the theater used for musical performances and for good reason I might add. The sound and lighting system (or lack thereof) is minimalistic. There’s also a noticeable lack of standing area in front of the stage, with the rest of the theater filled with seats. Unfortunately Long Beach lacks a decent music venue since the demise of Vault 350, an impressive music venue located in downtown Long Beach. While being an intimate location for a hometown show, the functionality of the venue seemed to take away from the show.
Now, the crowd — I can’t say they sucked like the venue. After being warmed up by the Hot Toddie and Zechs Marquise, the crowd were pumped up for the headliners. The fan base for the Bandits are quite dedicated. One guy flew in from Chicago, Illinois for the few Southern California shows.

One by one the band made their way to the stage. Guitarist Steve Choi and drummer Chris Tsagakis started out the show with a duel drum solo set. Vocalist and guitarist Matt Embree soon joined the rest of the band on stage to officially start the show. The show consisted of the normal RX Bandits live show formula — a lot of crowd interaction, mini jam sessions between songs and a lot of sporadic dancing. Most of the material played included cuts from …And The Battle Begun, The Resignation and Mandala. A few songs were played from Progress, but not nearly as much as I would have expected for being a “farewell tour.”  Nothing was played from Halfway Between Here and There, which was also a disappointment. A highlight for me was the opening bass line for “Overcome (The Recapitulation),” in which hearing this the crowd started spontaneously singing the opening lines (“We’ve had enough of these politician’s wars, what we need right not is love”). I also particularly enjoyed the extended performance of “Only For The Night” and the chaotic sound of “Decrescendo.” Lauren Coleman — also known to some as the musical act Pebaluna — joined Matt on stage for a rendition of “Ain’t No Sunshine.”

Photo By Mike Murray

Musically, the guys were as good as they’ve always been. I’ve been to quite a few Bandits shows over the years and they never cease to amaze me with their overall musical ability and improvisational prowess. The absence of horns was noticeable, though. I know, they’ve moved on from that horn-driven sound, but hearing a song played without horns that was originally written with horns in mind leaves a total void and ultimately changes the song. I was expecting some horns or in the very least a horn, especially at a hometown “farewell show,” but it wasn’t meant to be. The lack of horns didn’t kill the show experience for me, but I must be honest in saying that some of the originally horn driven songs played (“All The Time” and “…And The Battle Begun”) without horns did come as a disappointment — they felt incomplete.


After an encore, the crowd chanted and hoped for more music, even as the house lights came on and the sound techs unplugged the microphones. Leaving hot and a bit sweaty from being shoulder to shoulder with fellow concert goers, I questioned if this was really it, “Is this the last time I’ll see RXB live?” We can only hope they take a break and regroup in attempts to create more music. The future is wide open for the RX Bandits and who knows what will come next.

Show Review: Ben Folds and Kenton Chen at the House of Blues, Anaheim 7/20/11

To many my age, Ben Folds is known for being one third of the nerd rock outfit Ben Folds Five that gained popularity back in the mid-’90s with songs like “Brick,” “Underground,” and “Army.” Ben parted ways with Darren and Robert in 2000, and has since gone on to release three solo albums, a number of EPs, and even produced the album Has Been for William Shatner.


In 2009, Ben would go on to gather up a grip of a cappella singing groups from colleges around the country for a cover album featuring songs from Ben Folds, as well as his solo output. Given his interest and passion for the a cappella sound, it wasn’t that shocking that he would be asked to be a celebrity judge on NBC’s a cappella singing competition “The Sing Off.”

“The Sing Off” has also provided a great service to of a cappella singers who once had limited exposure, including 22-year-old Kenton Chen. Chen, a member of the southern California singing group The Backbeats (and third-place winner on the second season of “The Sing Off”) was approached by Mr. Folds about opening up for him on his next tour. Making good on his promise, Ben took Chen on the road for the West Coast swing of his Lonely Avenue tour, bringing reality TV magic to life at the House of Blues in Anaheim.

A few minutes ahead of the scheduled start time the lights dimmed and the curtain pulled back to expose Kenton alone on stage with a stool, a few microphones, a Baldwin grand piano (same piano Ben would use for his set), and a box that would allow Kenton to cue and play background instrumentation during his set. In total silence, he went into a cover of “Angel” by Sarah McLachlan. His range was extremely impressive, from high falsetto to deep bass.  He also covered Britney Spears’ “Toxic,” a song I’d never heard before, but it was an impressive performance. He moved from the stool to the piano where he took on the task of playing an original song called “Elena.” When performing non-a cappella songs, his voice and tone sounds a lot like Robin Thicke, especially when he hits the higher register. While hitting those lower notes, elements of Stevie Wonder comes out of his vocal stylings.

After a short intermission following Kenton’s 30-minute set, Ben and his backing back appeared on stage. They immediately went into “Levi Johnson’s Blues” off of Lonely Avenue. Lonely Avenue is a collaboration between Ben Folds and English novelist Nick Hornby (High Fidelity, About A Boy, Fever Pitch), featuring music by Ben and lyrics by Nick.

Following the opening number, Ben noticed the line of photographers (including myself) in front of the stage and proclaimed, “The paparazzi is here,” and admitted that his shows can be quite boring for photographers. So after a costume change (consisting of putting on a beret), he performed his signature “chair toss” against the keys of his piano three times. Then took his synthesizer and ran past us playing it like he was performing a guitar solo. We thanked him for the action shots, and the show continued on.

The material performed by Ben included a few Ben Folds Five tracks, including the ever-popular crowd participation numbers “Army” and “Kate,” to their hit “Brick,” in which Ben said, “If I would have taken five seconds to think about it, I would’ve never put this on the record.” The song tells the story of Ben’s high school girlfriend getting an abortion, and his feelings about it. He also played “Emaline,” a song he wrote at the age of 18.

Most of the set featured music from Folds’ solo albums. “Zak and Sara,” “Annie Waits,” and “Rockin’ The Suburbs” were all crowd pleasers off of the nearly 10-year-old album Rockin’ The Suburbs. From Songs For Silverman, Folds performed “You to Thank,” “Landed,” and “Jesusland.” A few cuts from Way to Normal were played, including “You Don’t Know Me” and “Effington.”

Two particular songs really brought the goosebumps — “Fred Jones Part Two” and “Still Fighting It” really swept me up as the crowd sang along to these two bittersweet tunes. The evening also had some humorous moments as well. While Ben was speaking between songs, he was heckled by an audience member shouting, “Shut up and play!” Ben — who was able to coerce her to apologize — followed this by improvising a jam that turned into a version of “Rock This Bitch.”

Ben also told a story via an improvised song about taking a limo with William Shatner to Disneyland; upon finding it closed, Ben sings, “That doesn’t mean a fucking thing to William Shatner — He just says, ‘Hey, I’m William Shatner,’ and they turn on the rides.” Later in the set, Ben performed an amusing cover of Ke$ha’s “Sleezy,” and several more improvised numbers.

Ben also performed with an impressive backing band, including a drummer, bassist, keyboard player (who busted out the French horn on “Jesusland”), and a second percussionist who jumped on the acoustic guitar during a few songs. The band shined during an extended jam session as Ben played bass and the second percussionist performed an insane drum solo.

The show ended with the crowd favorite “Not The Same” off of Rockin’ The Suburbs. It is here than Ben became a music teacher and divided the crowd into harmony parts for the song. Throughout the song, he gave the crowd cues to come in with their harmony, and once the song ended, he conducted the crowd alone. Seeing Ben Folds live is an amazing experience. He feeds off the crowd during his show, and knows how to keep everyone in attendance involved — it’s truly an interactive experience.

OBNOX – I’m Bleeding Now

Lamont “Bim” Thomas has contributed to quite a few music projects in the past, including Basshole and, most recently, drumming for the band This Moment in Black History. Now this Cleveland, Ohio native has gone solo under the name Obnox, releasing this seven-track album entitled I’m Bleeding Now.
 
Pushing the play button and starting the first track “Cum Inside” startled me a bit. The level of distortion made me question if my speakers were blown on my computer. Maybe I got a bad copy? After confirming the intended sound on the iTunes page for the album, I powered through the gnarled guitars and semi-understandable vocals. The mix of warped guitars and driving drumming continue through the first half of the I’m Bleeding Now, at times almost unbearable to listen to. Thank God I didn’t review this album on my MP3 player…hearing this through headphones could be a new tool used at Gitmo on suspected terrorists.

But the distortion works on a few tracks, including “The Cowboy and Cowgirl,” as the harsh guitars are broken up by a guitar solo and catchy yet distorted vocals. The same formula that worked with the previously mentioned song also works with the tune “Daughter.” The album ends on a wild note with the song “Whaddup Young Bleed (Drum Thunder Suite).” With this track we hear Thomas’s skills on the skins as it drives this four-minute and 41-second blast of insanity. Clearly my favorite cut off this album.

On a personal note, I didn’t dig the whole ear torture aspect of over-distortion on this album, as my ears were proclaiming the title of this album by the end. If you dig Bim’s past work or just dig driving noise backed by a strong back-beat, you may want to give this album a spin.

(Smog Veil Records, 1658 N. Milwaukee Ave #284, Chicago, IL 60647)

FACE TO FACE – Laugh Now, Laugh Later

Nine years after their last studio album, Face to Face are out to prove that they haven’t lost their touch with their newest effort Laugh Now, Laugh Later. The SoCal punk mainstay spent most of the first decade of the new millennium on hiatus, and additionally lost their longtime guitarist, Chad Yaro. With Laugh Now, Laugh Later, Yaro returns to give his vocals and guitar work, making Face to Face a quartet.


The 11 tracks here feature Face to Face’s signature sound, especially Trevor Keith’s vocals and style of songwriting. The opening track, “Should Anything Go Wrong,” packs a powerful punch. With its fast tempo and impassioned vocals, it really draws you in. “Bombs Away” is a scathing commentary and call to action on the political landscape in America and the wars we’re fighting abroad. While most of the songs on this album deal with personal relationship mishaps and heartbreaks — like “Pushover” and “What You Came For” — the album doesn’t come across whiny or “emo,” thanks to the driving guitars, backed by a strong back beat and Keith’s strong yet melodic vocals. Those saddened by the four-year hiatus should enjoy this comeback album, as it’s jam packed with the trademark Face to Face sound.

(Antagonist Records, no address provided)

QUIET LIFE – Big Green

With a sound based in good old fashioned Americana rock n’ roll come Quiet Life and with Big Green. Grabbing inspiration from Bob Dylan, Neil Young, and The Grateful Dead, the 10 tracks on this album will work well as a soundtrack sitting around a campfire or an accompaniment on a road trip across the big empty spaces of this great land known as America.


The music is stripped down and comes across as straightforward — with the attention placed mainly on the songwriting, especially in the songs “Cave Country,” “Easy To Please,” and the title track. These particular tracks tend to be quite folk-y compared to tracks like “Storm Clouds” (heavy Grateful Dead influence here) and “Nighttime” (with guitar work reminiscent of early Kings Of Leon). The mix of laid back folk tracks with the heavier guitar-laced tunes make for a real natural flow. Can’t say I love the vocals, but I dig the guitar work here. Those who savor the folk/roots rock sound should give this album a whirl.

(Safety Meeting Records, 196 Norton St. #2, New Haven, CT 06511)

Show Review: Emily’s Army at DiPiazza’s, Long Beach 5/22/11

Primed and ready for the release of their debut album Don’t Be A Dick on Adeline Records on June 14th, Emily’s Army popped into Long Beach’s DiPiazza’s for an early evening performance to an eager audience. The audience, made up of mainly young teenage girls, crowded the stage with cameras in hand as they patiently waited for the band’s hour-long set.


Emily’s Army is comprised of Oakland teenagers Cole and Max Becker, Travis Nuemann, and Joey Armstrong. The fresh-faced band have made waves by gaining the attention of one of their heroes, Billie Joe Armstrong of Green Day (and co-founder of Adeline Records) who took on the producing duties of the boys’ debut album.

As the band arrived on stage, I have to admit I was taken aback by just how young these guys looked! They range in age between 15 and 17 years old (no wonder they have a strong teenage girl following!) and do they look it! They definitely have an innocent and, dare I say, “cute” demeanor to their stage presence.

But don’t let the boyish looks fool you into believing these kids are relying solely on the “adorable factor.” Musically, they can clearly hold their own and throw down some really tight sounds. You can hear a lot of Green Day influence, especially in the heavy use of Max’s bass lines. Some of the more poppy vocals and guitar riffs seem to be influenced by traditional Ramones, and at times you can hear hints of some surf and ska.

For being quite young, they dominated the stage with an almost awkward innocent bravado that only seems quite natural for a bunch of teenage boys. Watching them bounce around on stage, jumping in synchronization and clearly having a good time, only made the experience of watching their performance all that more enjoyable. Aspects of Green Day were definitely present in their stage presence with Max and Cole taking on power stances and facial expressions reminiscent of Billie Joe and Mike Dirnt.

Included in their set was a really fun and carefree version of The Beach Boys’ “Do You Want To Dance?” — although the way they played it, it could have been a cover of the Ramones’ version of the song. Whatever the case was, the question posed in the song was answered by some of the girls in front of the stage as they (in fact) did start to dance. The song “I Wanna Be Remembered” was dedicated to Cole and Max’s cousin Emily, who the band is named after. Emily was diagnosed with Cystic Fibrosis back in 1998 and in honor of Emily’s fight — and in junction with the foundation aimed at educating the masses about CF — the band changed it’s name from Raining Souls to Emily’s Army.

I walked away from this show quite impressed with the simple raw sound and talent of Emily’s Army’s music. If this is any indication of what these lads are capable of, the future looks promising. As of now, they seem like a band inspired by other musical acts they look up to musically. Like all teenagers, it’s a matter of finding yourself and defining yourself. By all accounts of this performance, Emily’s Army is well on their way to finding out what power and potential is there for the taking in the years ahead.

Show Review: The English Beat at the House of Blues, Anaheim 5/13/11

For being a band that only put out three records more than 30 years ago, The English Beat’s intricate and unique story is still being played out to this day. It’s a story of two bands divided by an ocean: one based in the UK featuring original members Ranking Rodger and Everett Morton, the other based in sunny southern California, headed up by original front man Dave Wakeling. Both bands playing the tunes that defined the Two-Tone ska sound that one day would be an inspiration to bands like The Toasters, No Doubt, Reel Big Fish, and others who would go and create the Ska’s third wave. Tonight, it would be Dave Wakeling’s band that would take the stage in Anaheim.


Tonight’s crowd was very, very interesting to say the least. Arriving to the upstairs bar area, I noticed that they had part of the area cordoned off for a private party. I came to find out there was a high school reunion taking place and by the looks of it, I would say a class from the early 1980s — right around the time The Beat were in their prime. The reunion attendees were easy to spot — well-dressed, maybe too well dressed for a Ska show, and quite intoxicated, even before the first and only opening band, The Simpkin Project, took the stage. Others in attendance were also quite mature in age. Where were all the rude boys and rude girls? Is the southern California ska scene that dead that the youngest in attendance is 30 years old?

The Simpkin Project played for maybe 45 minutes. Playing pretty chill ska-tempo music, the band from Huntington Beach, California quietly primed the crowd for The Beat. Can’t say anything great about the band, but I can’t say anything bad either. Their brand of kick-back ska reggae made for good background music, perfect for all the drunkard reunionites to rekindle old flames and brag about how great their lives are now. I personally witnessed two extremely drunk classmates sucking face. The only way I can describe the crowd is if you jumbled two conference rooms at the Marriott Hotel, one being a concert and the other a high school reunion. It was one of the most odd concert crowds I’ve ever witnessed and I’ve been to quite a few over the years.

Eventually, Dave and crew took to the stage. The rest of the band was made up of very talented musicians, none of which were original members. Absent from the line up was vocalist/toaster Antonee First Class. Dave apologized to the audience that Antonee wouldn’t be able to make it as he was stuck in Phoenix. Without Antonee, the show went on as planned. Pretty much every Beat hit off of their three albums were played — from their cover of Smokey Robinson’s “Tears of a Clown” to “Ranking Full Stop,” a song usually toasted by Antonee, which got a new spin when Wakeling gave us a taste of his toasting skills. In addition to The Beat’s tunes, the band also played a few songs from General Public. General Public formed shortly after The Beat’s break up in 1983 and was comprised of Wakeling and Ranking Roger. The band covered The Staple Singers “I’ll Take You There” and most notably wrote and performed the hit “Tenderness”, both of which were greeted on this night with huge cheers and sing-alongs.


By about the middle of the show, a few rude boys and rude girls made their way through the crowd, creating a skank pit and in essence confusing the hell out of the “Molly Ringwald” dancing reuionites. Old vs Young! Finally, worlds collide!

Watching Wakeling on stage brought an instant smile to my face that I couldn’t wipe away. Even after 30-plus years, the joy of touring and playing these classic tunes in front of a nostalgic and appreciative crowd clearly brings him joy. Between songs, he would ramble a bit with his deep English accent, telling jokes, laughing, and interacting with the crowd. Make no mistake about it, all eyes are on Dave and this is his band.

Musically, the band played off each other all night long. Dave still has an awesome singing voice, even though he can’t hit those high notes like in the song “I Confess.” Throughout the evening, each member was singled out for solos. Allowing the other members of the band to share in the spotlight that Dave basks in for a majority of the show.

By the end, The Beat played for over two hours — mainly because each song they played broke out into an “extended” version lasting at least seven to 10 minutes, including amazing versions of “Save it for Later” and “Mirror in the Bathroom.”

At 55 years old, Dave Wakeling sits atop the throne as one of the Godfather’s of the English Two-Tone ska movement. With a tour schedule that would tire many working bands today, Wakeling’s Beat continues to thrill audiences with the music that gave him that endearing title. Bringing smiles to the faces that relive those nostalgic feelings at every show, Wakeling simply smiles right back and thanks the crowd!